Technique

I love clay. It is a most miraculous
medium and I have been fascinated with it since kindergarten when we made hand
print ashtrays. But I am not media
monogamous. In fact I am promiscuous
with my use of different media. I will
use whatever works the best for the effect I am trying to achieve.

My
earlier work was low fired with a technique called Naked raku.This is a lovely process on pots and
sculptural forms that have smooth curves and somewhat flat surfaces.It is far less conducive to detailed figures
with their extreme angles and sharp surfaces, so it is primarily used on
pottery.I loved the look so much that I
used it anyway, even though it was difficult to do a raku firing on detailed
and delicate sculptures.In many ways I
compromised on the construction of my sculptures in order to have them be able
to endure the rigors of the raku/reduction process.Another problem with raku is that the work
is not vitrified and therefore very delicate. Shipping it was so problematic
that even with the most attentive packing I would have breakage.This inspired me to figure out a new
technique that would replicate the look of Naked Raku to some degree.

The
technique that I developed is called "Naked Fauxku" because it is
naked (sans glaze) yet it is a faux process that attempts to emulate the look
without actually doing raku.This
technique is done in an electric kiln and is high fired.It doesn't look exactly like the traditional
naked raku, but it is very similar and conveys the look that I was seeking.The joys of Naked Fauxku are that it can be
used for sculpture or pottery, can be food-safe and since the clay is
vitrified, and it is much stronger for shipping.